1. Video Production Handbook Chapter 10 (5th Edition)
Audio for Video
Video Production Handbook Chapter 10 (5th Edition)

2. Audio is as important to television as the video image.
It gives images a convincing realism.
It helps the audience feel involved.
It helps you follow the story.
Video Production Handbook Chapter 10 (5th Edition)

3. Successful audio is a blend of 2 things:
Appropriate techniques
Appropriate artistic choices
Both of these are a matter of technical knowledge combined with experience.
Video Production Handbook Chapter 10 (5th Edition)

4. Video Production Handbook Chapter 10 (5th Edition)
Acoustics
When a sound wave hits a hard surface, little is absorbed
Hard surfaces = reverberating sound
When a sound wave hits a soft surface, energy is absorbed within the material
Soft surfaces = dead surrounding sound
Video Production Handbook Chapter 10 (5th Edition)

5. Video Production Handbook Chapter 10 (5th Edition)
THE VARIETY OF ANGLES OF THE SET WALLS, THE CURTAINS, CARPET, FURNITURE, AND PEOPLE HELP DAMPEN THE LIVE SOUND – BUT NOT TOO MUCH
Video Production Handbook Chapter 10 (5th Edition)

6. Video Production Handbook Chapter 10 (5th Edition)
Acoustic panels were placed on the walls of this audio room to reduce the “liveness” of the room
Video Production Handbook Chapter 10 (5th Edition)

7. Video Production Handbook Chapter 10 (5th Edition)
Mono sound:
“Single-eared” monaural representation of sound in space
Stereo sound:
Creates illusion of space and dimension
Surround sound:
Provides sense of envelopment when mixed correctly
Video Production Handbook Chapter 10 (5th Edition)

8. Video Production Handbook Chapter 10 (5th Edition)
During the shooting of a dramatic program, the boom operator got the microphone as close as possible, while still being off camera, because open-air sound does not usually travel far
Video Production Handbook Chapter 10 (5th Edition)

9. A home surround system utilizes six speakers.
Video Production Handbook Chapter 10 (5th Edition)

10. The omnidirectional microphone is equally sensitive in all directions
Video Production Handbook Chapter 10 (5th Edition)

11. Video Production Handbook Chapter 10 (5th Edition)
The directional (or cardioid) mic has a broad, heart-shaped pattern that is insensitive on its rear side
Video Production Handbook Chapter 10 (5th Edition)

12. Video Production Handbook Chapter 10 (5th Edition)
Use a supercardioid pickup pattern whenever you want extremely selective pickup, to avoid environmental noises, or for distance sources.
Video Production Handbook Chapter 10 (5th Edition)

13. Shotgun mics are the most popular type of camera microphones
Video Production Handbook Chapter 10 (5th Edition)

14. Video Production Handbook Chapter 10 (5th Edition)
Shotgun mics give the best quality long-distance pickup from the subject
Must be aimed accurately
But, when attached with the camera:
Sometimes too far away from the subject for the best sound
Mic doesn’t zoom with the zoom lens, so the sound capture remains the same
Camera mic can’t follow somebody
Video Production Handbook Chapter 10 (5th Edition)

15. Video Production Handbook Chapter 10 (5th Edition)
The handheld mic is widely used for interviews and commentaries, and stage work. If the mic has a cardioid directional response, extraneous noise pickup is lower. If the mic is omnidirectional, it may need to be held closer to the subject to reduce atmosphere sounds
Video Production Handbook Chapter 10 (5th Edition)

16. Video Production Handbook Chapter 10 (5th Edition)
The shotgun mic is one of the most used mics in television. These microphones are very susceptible to handling noise and must be held orconnected to a pole or stand with a shock mount
Video Production Handbook Chapter 10 (5th Edition)

17. Video Production Handbook Chapter 10 (5th Edition)
Different types of windshields are used to protect a shotgun mic from wind noise
Video Production Handbook Chapter 10 (5th Edition)

18. Video Production Handbook Chapter 10 (5th Edition)
A Mic Boom (or fishpole) is a regular method of mounting the shotgun mic, particularly in the field. It allows the operator to stand several feet away from the subject
Video Production Handbook Chapter 10 (5th Edition)

19. Video Production Handbook Chapter 10 (5th Edition)
Lavalier mics come in different shapes and sizes. Generally. A lavalier mic is clipped to a necktie, lapel or shirt. Sometimes a “dual redundancy” pair is used when a standby mic is desired
Video Production Handbook Chapter 10 (5th Edition)

20. Video Production Handbook Chapter 10 (5th Edition)
The talent is using an “earset” microphone that utilizes the lavalier microphone. It is mounted on a tiny mic “boom” and attached to the ear. It is also available in a fl esh color and is almost invisible to the viewing audience. In this situation, it was used on ESPN’s X-Games.
Video Production Handbook Chapter 10 (5th Edition)

21. Video Production Handbook Chapter 10 (5th Edition)
Lavalier mics are often used to record musical instruments or any other subject that requires close miking
Video Production Handbook Chapter 10 (5th Edition)

22. Video Production Handbook Chapter 10 (5th Edition)
The boundary mic is a low-profile mic that can pick up accurate sounds from six or more feet away
Video Production Handbook Chapter 10 (5th Edition)

23. Hanging microphone – usually suspended over the performance area
Video Production Handbook Chapter 10 (5th Edition)

24. Video Production Handbook Chapter 10 (5th Edition)
This small surround sound microphone include a Dolby Pro-Logic II encoder with a line-level stereo output designed for camcorders
Video Production Handbook Chapter 10 (5th Edition)

25. Video Production Handbook Chapter 10 (5th Edition)
ABC Television’s Extreme Home Makeover uses a professional surround sound microphone, separate from the camera, to capture the audio
Video Production Handbook Chapter 10 (5th Edition)

26. Video Production Handbook Chapter 10 (5th Edition)
An audio person adjusts a microphone stand for an on-location interview project
Video Production Handbook Chapter 10 (5th Edition)

27. Video Production Handbook Chapter 10 (5th Edition)
There are many types of mic stands and mounts, from bottom-weighted telescopic stands to small versions with thin, flexible, or curved tubing intended for lavalier or miniature mics
Video Production Handbook Chapter 10 (5th Edition)

28. Video Production Handbook Chapter 10 (5th Edition)
Wireless (radio) belt pack and transmitter. A lavalier mic can be plugged into the transmitter
Video Production Handbook Chapter 10 (5th Edition)

29. Video Production Handbook Chapter 10 (5th Edition)
Any type of mic can become a wireless mic if some type of wireless plug-on transmitter is used. This transmitter converts a dynamic or condenser mic to wireless, transmitting the signal back to a receiver
Video Production Handbook Chapter 10 (5th Edition)

30. Wireless mics offer the talent the greatest freedom of movement
Video Production Handbook Chapter 10 (5th Edition)

31. VU meters and bar graphs are used to monitor the audio signal
Video Production Handbook Chapter 10 (5th Edition)

32. Video Production Handbook Chapter 10 (5th Edition)
The portable audio mixer is used in the field to mix up to three mics; the overall output is controlled by a master fader. A VU meter provides the volume indicator. Some mixers include a limiter to prevent audio overload.
Video Production Handbook Chapter 10 (5th Edition)

33. Faders (potentiometers) on a large audio mixer
Video Production Handbook Chapter 10 (5th Edition)

34. A large surround sound audio mixer for television productions
Video Production Handbook Chapter 10 (5th Edition)

35. Video Production Handbook Chapter 10 (5th Edition)
This lavalier clip is designed to hold two microphones, providing a backup in case one fails
Video Production Handbook Chapter 10 (5th Edition)